China's traditional painting theory thinks that the proportion of people is measured by what?

In China's traditional painting theory, figures mainly show the proportion of various parts of the human body and a wide range of modeling changes. The proportion of human body usually measures the length of each part of the body in units of head. For example, the upper limb is about 3 heads long, the lower limb is about 3.5 heads long, and the shoulder width is about 2 heads. When drafting, we also use the length of the head to determine the proportion of the whole body. For example, we often say "stand seven, sit five, squat three". The general blocks in the human body are fingers, chest, buttocks and limbs, of which chest and buttocks are the largest two. Due to the flexibility of human spine, these two large volumes have undergone various changes. Mastering the activity law of these two volumes is the key to draw human dynamics well.

As a means of expression of landscape painting, point-and-view graphics are the reflection of the painter's conception consciousness in painting creation and are dominated by the painter's subjective thoughts. Emotion is regarded as an important psychological factor in the whole process of artists' conception activities. "It has always been the painter's subjective emotion, which turns materials into themes, phenomena into images and imagery, real scenery into landscape paintings, and ruthless natural scenery into sentimental, touching, thought-provoking, melancholy, quiet and exciting art." (Guo Yin) The satisfaction of the painter is the premise for the works to blend the scene and impress the viewers. Gu Kaizhi's argument of "thinking strangely by moving" shows that he clearly advocates that the painter should move his subjective feelings into the painting object, so as to achieve the integration of scene and object, and then "surprise" the shape and spirit of the painting object saturated with the painter's subjective feelings and create an artistic image of the painter's subjective feelings. In the Northern and Southern Dynasties, Zong Bing put forward "the sage takes Tao as his heart", "the sage takes taste as his sincerity", "the eye as his heart" and "the spirit as his heart", that is, he advocated that painters cast landscapes with emotion or mixed landscapes. In landscape painting, painters often put their feelings into the landscape figures and blend them into the picture to achieve the effect of blending scenes. At the same time, the landscape figures in the paintings are often written by the artists themselves. Like the waterfall-watching theme repeatedly recited in landscape painting, the waterfall-watching in the painting can be said to be a special artistic image created by the painter for himself. From this, we can understand that the literati turned to Lin Quan for help because of their depression and disappointment in the real life society, hoping to achieve their ideal portrayal of moral perfection through the edification and washing of nature. The painter's subjective emotion also expresses the author's yearning for the realm, in which the picture forms an infectious artistic realm because of the author's thoughts and feelings. On the other hand, the color relationship between landscape figures and landscape paintings also reflects the painter's emotional yearning. Color itself is endowed with thoughts and feelings, and painters often use color to express their thoughts and feelings on the screen. The color of the characters in The Finishing Eye is the reflection of the author's psychological feelings and ideological changes. At the same time, it is also influenced by the demand for painting. The painter's yearning for material life, or his aversion to the social world, or his recognition of the prosperity of the world, or his loss of life opportunities, can all be reflected in the color of the characters in the finishing touch. Although landscape figures are insignificant in landscape painting, they often have a critical role and are the concentrated expression of the painter's complex thoughts and feelings. Hao Jing of the Five Dynasties said in "Illusion": "Red and yellow, autumn leaves fall, red and green, flowers are blooming, blue and purple, it is better to die, and the pink cage is yellow than glory." It can be seen that painters in China have applied the emotional relationship of color to painting practice long ago. In order to express the author's subjective intention, the painter expresses his feelings with colors, and compares and contrasts the characters' clothes with the pens and shapes of Chinese paintings. China has a tradition of using color as a symbol since ancient times. Colors correspond to the four seasons, and are associated with the good and bad ideas and customs of society. Various colors are used to distinguish social classes. Bright colors such as red and yellow are only allowed to be used by the ruling class, while ordinary people can only use white, cyan and black. Qiu Jiang Fishing Alone, painted by Dai Jin in Ming Dynasty, was exiled for painting a man in a red robe fishing by the river, and then died of poverty. The reason is that red clothes were official clothes at that time, which was considered as a contempt for etiquette. The symbolic significance of ancient colors is also manifested in the warm color of red, full of vitality and happiness, and the cool color of blue and purple, which contains the dead and expresses sadness. In addition, the painter uses color contrast to break the meaning of the picture pattern. This is also a way to express the lively picture atmosphere and feelings of the characters on the scene. Like "Xiaoxiang Map" written by Dong Yuan in the Five Dynasties, the characters in this volume are as small as beans, exquisite and incomparable, all of which are rich colors, and through the jumping relationship of colors, the characters in the scene are very eye-catching in the elegant ink landscape environment, and they also better point out the painting meaning. In addition, the painter also uses color to influence the viewer's thoughts and feelings. The application of cool colors such as white in clothing, whether it is a scenic figure watching waterfalls or fishing, enjoying plums or playing the piano, is the embodiment of the aloof and lofty character of literati, showing a lonely, lonely and detached style. On the other hand, the emotional expression of characters in landscape paintings is also reflected in the close relationship with Taoism and Buddhism. This mainly depends on the political needs and social fashion at that time. Since ancient times, it is common for scholar-officials to ask Buddha, which is deeply influenced by Laozi, Zhuangzi and Buddhism. They have always advocated lightness, elegance and seclusion. They are nothing more than proud of the misty clouds and send their feelings to the mountains to get rid of spiritual depression. In the Yuan Dynasty, Zhen Wu painted many pictures of fishermen, and the characters in the pictures expressed their interest in being a heavy smoker. Other painters such as Dai Jin's Fishing Map in Weibin, Shen Zhou's Fishing Map in Qingxi, Tang Yin's Song of Mountain Road, Wen Boren's Drawing of a Square Pot, Wu Bin's Drawing of Wonderland, Zhao Zuo's Drawing of Cao Ge in Hanjiang River, etc. It is pointed out that some of these pictures are related to Taoism, while others are purely natural, which is aggravated by the embodiment of scenic figures in the pictures.